Perhaps, even this time, we can declare Nume to protect Electronic Art Café’. Tommaso Filippo Marinetti once said: “We are the caffeine of the Mediterranean”; and it is from this sentence that theElectronic Art Café’ was unconsciously born in 1994, in an immediate relationship of close collaboration , between myself, as director of the Biennale of Venice and Umberto Scrocca, who at the same time worked for the project Xerografia Freddy Grunert.
Xerografia was an extremely important event during my Biennale, as it confirmed the multicultural, transnational and multimedia connotation of this edition ,which I had named Cardinal points of Art: an invitation to a highly qualified international artists, starting from Nam June Paik, with the videos that obtained, starting from the title, this position, in a free territory of creation, this sort of nomadism connected to a mobile identity of the artist. The Nemo prophet in his homeland, living essentially in a global world becomes the Nemo prophet.
The electronic device overtakes the territory, geography is run through by the speed of the instrument, that is why Xerografia became an event which has signed my Biennale of Venice.
Under the banner of nomadism, that nomadism that led towards the Electronic Art Cafè, that Umberto Scrocca wanted and himself named, maybe without reading too many things, Electronic Art Cafè. There has been a passage in New York, but the big flying start was in Rome at the Exibition Hall (Palazzo delle Esposizioni) , “Artists on platform”, we can say five years of nightlife art. We used to call up, once a week, artists coming from different cultural, geographical and generational contexts, always  activating a contamination and go through strategy.
The coexistence of different people , that used to build up spontaneously an evening: art ready from 10pm onwards till night. Playing between collective attention and inattention, there was a sort of “standing up” dinner, from the bar you would move to the centre, where, on the central platform, the artists at 360 degree exhibited themselves, their works, their materials, their techniques, their.own words; from the conceptual art to trans-avant garde, from.photography to multiculturalism of artists who came to witness the tragedy in Bosnia. Serrano explained to the public the cruelty of a photograph, which didn’t have any compassion towards religion, a morgue, it was an image that immediately became praxis. Vector Pisani  who takes up pornography in his work, showing that art has got no memory, for each content, vulgarity doesn’t exist in art, there is instead the possibility to demonstrate how the pornographic element, the detail, can happily bleach in eroticism, in a vital image. Painters, sculptors, comparison of different generations that measured themselves in a space “Artists in platform” in the Electronic Art Cafè, a dynamic place in the Roof-garden of Palazzo delle Esposizioni, in a night time atmosphere, daylight art got would find its continuity: no difference between night and day. The public participated with enthusiasm, in-taking the noise of life, a background noise, which was absorbed by the events that had scattered the holiness of the museumgraphic silence or the whispers of the bargaining of the gallery.
These events started from Picasso’s statement: “Art directed towards the world”. All the artists who witnessed of the five years of the Palazzo delle Esposizioni had a position towards life, a glance on the world always from a lateral view, with the consciousness that art is an autonomous language, it is not a documentation, but it is a representation, it is a drifting, a reality in which the audience becomes its structural element. The Electronic Art Cafè gives proof of the inexistence of bureaucratic timetable for art, eight hours in the office are not enough, the chain of art, made of the artist,critic, gallery.dealer, museum, collector, media and public is always at work to give an extra value, a plus value that makes the art a super art..Therefore all the rings of this chain have been on the platform, thanks to the Electronic Art Café over these five years at the Exhibition Hall. The.books.about advertisement, politics, topology, literature have all been presented with a sociological connotation, so art has always had freedom of expression. The “Artists.on platform” have.done all, in an extreme freedom, a system of welcome and, on the other hand, driven by a sort of nomadism that has led The Electronic Art Café towards the realization of pleasant migration, almost seasonal, to other Italian and foreign cities: reaching the Locarno Festival, Pantelleria Festival, organizing the Biennale of the Parchi of Rome and penetrating the gardens of the Academy of foreign culture in Rome, welcoming the installations on the steps of Modern Art National Gallery, invading the space of the Austrian Academy, the American  Academy and the French Academy. The stories of the Electronic Art Cafè, under the stimulus of caffein, as Savino used to say: “The name is its destiny”, in this case, the name has determined the happy flowing,happy excursions I would say, finally ending up,even in restaurants and bars at night time in Rome. The most significant meeting was with Bartolo Cuomo,who came by the Caffé della Pace, with the intervention of Emilio Prini, extremely radical. Then an almost identical event as “Artists on platform”, in its place, surrounded by trees, the Art Cafe in the restaurant called Santa Lucia , with the presence of artists that reach trans-avant-guard: Sandro Chia, who has moved towards young people interventions as H.H. Lim, Felice Levini, Neri. The history of the Electronic Art Cafè has worked over this strategy, to profess aestheticism: to vaporize art beyond the set boundaries, beyond appropriate gallery architecture, holy architecture of the museum, beyond protection from the collectors, to finally scatter on the streets and invade other spaces. To profess aestheticism means the passage to a kind of art which wants to invade life, and gets closer to its natural public and lives without a detachment from the daily life. The Electronic Art Cafè is , therefore, a demonstration that art is not autarkic, it has no boundaries, it pays no taxes. The link, as in our case, with ZKM Karlsruhe and Art Intermix NY, establishes relationships of collaboration , of secret understanding and of cultural complicity . It goes beyond festivals, turns on itself, and it also collaborates in the realization in my “Todo Modo”, art explained to children, the gold A.B.O. and silver A.B.O. A sort of night time first aid for artists, critics, for a quick public who, having had the caffeine of art, becomes itself as the art, a collective glance towards the world.